Question of being with TECHNIQUE or NO TECHNIQUE.
Technique is the root of all dance training and class is where dancers hone their foundation. It’s so important for dancers to continue to sharpen their technical prowess because it will translate into their performance of varied choreography. To be a versatile, hireable, injury-free dancer/ performer, it’s essential to train in multiple genres and vocabulary as much embodied information as possible.
The dance technique and learning is never ending and vast. The more you know, the more successful you will be! Overall, though, it’s important that the hard work doesn’t replace the joy because if you think back to your first dance class, it was probably the sense of freedom in movement that drew you to dance in the first place. Improvising and creation of movements once you know the base techniques gives you edge. Reinvest in your training and allow the challenge of the work to be your source of bliss.
Taking technique classes regularly and in multiple styles of dance provides dancers with a solid foundation for safe, efficient, and clean movement. Without the foundation of technique, it’s arguably impossible for dancers to develop into artists. Ultimately, technique means moving efficiently with the least amount of effort possible, making dance look easy, sometimes effortless.
Dance creation involves complex psychological activities. Improvisational dance is a free dance movement with the human body as a material carrier, and a process where a thought is transformed into dance action to express. The improvement of the potential creative thinking of dance creators through the improvisational dance movement and structure are explored through psychological experiments, it is proved that improvisational dance is an important way to release and develop creativity. This improvement in movement creation for dancers, though having its own technique, it is seen that most of the time it derives language from the base dance technique and vocabulary or easy daily locomotion.
These new generation choreographers need to take into fusing the traditional techniques to create new trends in modern society, which is based on the current time and changes with the times, thus meeting and leading the audience’s continuous development of aesthetic interest.
Application of ideas into dance movements must apply rules, concepts, principles, methods and/or theories of Dance or improvisational techniques. Improvisation is not said to be different from technique, rather Improv is considered one of the technique in modern and contemporary dancing which require skill and knowledge of.
Divergent thinking is the process of establishing a multitude of solutions for one single problem. Convergent thinking, on the other hand, is the process of finding one single solution for a problem through analysis and deduction. The relation between cognition and dance improvisation can be understood based on the idea that dancers use their bodies as “tools to think with”
Dance improvisation allows creative ideas to emerge from the interactions between body and mind. With the body’s nature and the mind’s consciousness, the spontaneous movement calls for the generation of cognition, more specifically, divergent thinking. Sensory stimulation entices a dancer’s imagination, which therefore results in reflexive movement. If both the body and the senses are used as instruments to imagine with, and in the same moment, the dancer’s movement is the direct replication of such imagination. Within each moment of improvisation, there are endless amounts of creative explorations and choices that can be facilitated.
During the improvisational process, the conscious mind is able to shift from what the individual self is doing, to the moment in relevance of time and space, the past in relation to the present, and the individual step in relation to the emerging whole. But doing this needs a certain amount of understanding and body awareness.
“Without improvisation, there would be no invention and without technique there is no clarity & efficiency.”
Spotting – Your head should be the only part moving separately from the rest of your body in a pirouette.
Due to the fact the dancer is their own axis, it is imperative they keep this axis as close to vertical as possible which can be accomplished by ensuring that their center of mass stays centered on top of their supporting leg by using good core strength. Remember that a pirouette is not a spin, but a controlled up and down movement that happens to rotate.
Graceful finish is important. Practice, practice, practice! Repetition and experience are essential to mastering turns.
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